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“立主脑”是李渔戏曲编剧理论的一个重要论点,然而提出此观点的五百余字的文章,却历来备受争议,许多学者在理解上也都存在着诸多分歧。本文从对这些理解的分歧进行梳理出发,并试图寻求解决的方式;中国戏曲有着“剧”与“曲”两条不同传统的发展脉络,由“曲”和“剧”论构成了中国古典戏曲编剧理论的体系;中国古典文论有它特定的思维逻辑和表述方式,戏曲编剧理论是古典文论中重要的组成部分,对待中国古典戏曲编剧理论时更需要把握住这种思维方式;以李渔“立主脑”作为切入点,探微中国古典戏曲编剧理论的思维方式,旨在更接近古人的思想境界,领会古人“立言之本意”。
However, the article of more than 500 words that put forward this view has always been highly controversial. Many scholars also have many disagreements in their understanding. This dissertation starts from the disagreement on these understandings and attempts to find a solution to it. Chinese opera has two different traditions of “drama” and “song” “Theory constitutes the system of the Chinese classical drama screenwriter theory; Chinese classical literary theory has its specific logic of thinking and expression, drama drama theory is an important part of the classical literary theory, the need to grasp the theory of Chinese classical drama screenwriter Live in this way of thinking; with Li Yu ”establishing the main brain " as a breakthrough point, probing the Chinese classical drama screenplay theory way of thinking, aimed at closer to the ancients’ ideological realm, to understand the ancients .